Literatura científica selecionada sobre o tema "Movie tagline"

This research is about pragmatics analysis of presupposition as found in the tagline of horror movie posters. This research aimed to discover presupposition triggers and type of presupposition in the tagline of horror movie posters. In this research, the data were collected by downloading 14 taglines in horror movie posters. Then, the data downloaded were divided according to the presupposition triggers and the types of presuppositions. The data were analyzed using two theories, presupposition triggers by Kartunnen (1973) and Yule’s presupposition types (1996). The result of the analysis shows an argument and a table. The results show that from 42 presupposition triggers found in the tagline of horror movie posters, definite descriptions are the most dominant presupposition triggers. Other presupposition triggers are the change of state verbs, factive verb, and counterfactual conditional. Meanwhile, out of 6 types of presuppositions, there are only four types of presuppositions found in the tagline of horror movie posters: existential presupposition, lexical presupposition, factive presupposition, and counterfactual presupposition.

This research is about pragmatics analysis of presupposition as found in the tagline of horror movie posters. This research aimed to discover presupposition triggers and type of presupposition in the tagline of horror movie posters. In this research, the data were collected by downloading 14 taglines in horror movie posters. Then, the data downloaded were divided according to the presupposition triggers and the types of presuppositions. The data were analyzed using two theories, presupposition triggers by Kartunnen (1973) and Yule’s presupposition types (1996). The result of the analysis shows an argument and a table. The results show that from 42 presupposition triggers found in the tagline of horror movie posters, definite descriptions are the most dominant presupposition triggers. Other presupposition triggers are the change of state verbs, factive verb, and counterfactual conditional. Meanwhile, out of 6 types of presuppositions, there are only four types of presuppositions found in the tagline of horror movie posters: existential presupposition, lexical presupposition, factive presupposition, and counterfactual presupposition.

This research is an analysis of an animation movie by Walt Disney Animation Studios entitled Zootopia. The story of Zootopia, just like other animation movies which can be generalized as intended for children. It contains a positive message which can be seen from the tagline of this movie; “This is Zootopia. Anyone can be Anything”. However, this research tries ascertaining the opposite as it can be seen that the message of the movie is not entirely true. It is under descriptively qualitative method supported by the Theory of Deconstruction as a framework -- that a text can betray itself and this movie is no exception. In Zootopia, just like in human world, the animals are divided into species and kinds or types. This division can clearly lead to discrimination, stereotypes and prejudice. At the end, the notion that anyone can be anything is right to some extend but there are certainly limitations and boundaries that one cannot across to avoid instability in the life of the animals. Thus, the movie can be ‘read’ as having an entirely different message. This research shows that an animation movie can also be interpreted in many ways and may indeed reflect what happens in our reality.

Talking about CDA or �Critical Discourse Analysis� means talking about power domination, ideologies and concepts employ in certain community. The reflection of power, ideologies, concepts or event traditional values can be found easily nowadays in the entertainment section with products like movies, songs, advertising, and many more. Since the values are packed with attractive features, some people are allured with the features and forget the power that drives some people to create the products which enable them to portray their beliefs and values. This research is trying to reveal the critical aspect of the movie �Spiderman� (2002) which contain Christian beliefs, bias concepts in American�s humanity and heroism. The method employs in the research is descriptive analysis based on the data taken from the scenes of the movie, tagline, dialogues. The result shows that through this movie, American unveils the ideology of liberalism covered with the values of humanity and heroism to drive people into the hegemony: American is the only power domination and the source of great heroes.

In movie industry, posters are one of the most powerful media and important to advertise something and deliver some information to the public. Posters contain two elements: verbal (script) and visual (visual art). The problem of this research are: (1) what are semiotic signs that found in To All The Boys trilogy movie posters and (2) how is significance displayed on the verbal and visual signs in To All The Boys trilogy movie posters. The aims of this research are to find out semiotic signs that exists on To All The Boys trilogy movie posters and to describe the significance that displayed on the verbal and visual signs in To All The Boys trilogy movie posters. This research uses qualitative method by using Ferdinand De Saussure signification theory. As a result, the writer found verbal and visual sign in the object of this research. The verbal signs are shown through the ads line, movie title, movie distributor, tagline, release date, and movie logo. Meanwhile, the visual signs are shown through the background illustration of the poster, the character placement in the poster, and colors.


 
 
 Sticky, messy and nauseatingly saccharine, the sensory properties of jam may be a long way from the stylized corporate polish of Australia’s multi-billion dollar film exhibition industry, yet the history of Australian cinema space will be forever indebted to the Victoria Preserving Company; one-time producer of the humblest of sweet treats. Through an analysis of Melbourne’s Jam Factory cinema complex, this article explores the unusual intersection of jam, sensory gratification and contemporary Australian cinema-going at the dawn of the 21st century. Encompassing the historic architecture of the former Victoria Preserving Company, South Yarra’s Jam Factory complex provides a gentrified gloss to an inner suburban precinct historically renowned for the manufacturing of jam and preserves. Nestled in the heart of Chapel Street, less than two blocks down from Toorak road and a stone’s throw from the nightclub precinct of Commercial road, the Jam Factory occupies an important part of Melbourne’s cultural heritage; functioning as a quintessential signifier of the city’s traversal from wholesale manufacturing during the early 1900s into the service vectors of digital media technologies and mixed-use retail entertainment destinations at the start of the new millennium. Established in 1876, the Victoria Preserving Company, AKA the ‘Jam Factory’, hosts an array of diverse retail and leisure outlets. Included amongst its tenants are Borders Books, Villa & Hut, TGI Fridays, The Pancake Parlour, a Virgin Music Mega-store, an elaborate Village Cinema megaplex, and a range of ancillary restaurants, fashion stores and cafes. According to the venue’s promotional material, “The Jam Factory of today is, in short, ‘jam packed’ with entertainment” (Chapel St Precinct, n.pag.). With the original building’s façade and cooling store still intact, the architectural remnants of the Victoria Preserving Factory provide a culturally significant backdrop for what is ostensibly Australia’s most noteworthy cinema venture; Village Roadshow’s megaplex cinema flagship. Replete with fifteen large format screens, including two Gold Class cinemas, a Cinema Europa enclave and an interactive games alcove, The Village Jam Factory signifies Australia’s first foray into cinema-based retail entertainment destinations. In commenting on the opening of the Jam Factory megaplex in 1998, Village Roadshow’s general manager Mr. David Herman said, “The objective was to create Australia’s first non-gambling cinema and lifestyle complex” (Catalano 6). More than any other cinema venue, the Village Jam Factory played a key role in pushing Australian film exhibition standards into the new millennium. In an era marked by competing home theatre technologies and diversified sites of media consumption, the Jam Factory’s shift from suburban cinema to lifestyle complex dramatically altered both the business and social practice of movie-going in Australia. Central to this shift was a tripartite marketing strategy which sought to capitalize on: protracted movie-going experiences; sensory stimulation; and, venue promotion. Experiential Jam The promotion of a protracted movie-going experience has been essential to the continued success of the Village Jam Factory. As I have argued elsewhere, the Australian cinema industry of the mid 1990s faced a number of significant incentives for extending the movie going experience beyond the auditorium; not the least being the steady decline of box office takings that occurred during the late 1980s (Downing). In the face of new media technologies such as the internet, DVD and Pay TV, many cinema operators were forced to look beyond the box office as a primary source of profits. To this end Village Roadshow effectively used the Jam Factory as a testing ground for the generation of ancillary leisure and retail income streams. During the mid 1990s Village actively promoted the Jam Factory as a space in which audiences could not only see a film, but also engage in a series of expanded retail activities such as shopping, dining and video-game playing. Discussing the development of multi-use cinema venues during the 1990s, Charles Acland has commented that such spaces “…do not situate conditions of spectatorship alone; they also construct relations between public and cinematic practices” (Acland 119). Sensory Jam Far from being a traditional site of film consumption, the Jam Factory set an industry precedent by becoming the nation’s first cinema venue in which audiences were encouraged to engage in an entertainment experience that was, above all, aimed at stimulating the senses. In keeping with the ‘lifestyle destination’ mantra, the Village Jam Factory provided a new generation of Australians with a multi-sensory entertainment experience that could not be emulated by home theatre technologies. Wide sweeping foyers and elaborate ticket and merchandising counters greet the eye; ‘luxury’ stadium seating with wide aisles and broad armrests offer the ‘ultimate’ in tactile comfort; digital surround sound facilities pleasure the ears and a plethora of food and beverage novelties work to gratify the senses of taste and smell. More than any other Village cinema outlet, the Jam Factory venue smacks of sugar-coated commerce. With a revenue contribution of over 18%, the Village Roadshow candy bar is the undisputed cash-cow of the enterprise (Australian Film Commission 143). Colloquially known as ‘Lollywood’, the Village confectionary counter is an over-priced explosion of colour and candy that sustains industry revenue through a deliberate appeal to the audience’s sense of taste. This sugar dependency synchronistically mirrors the former success of Henry Jones, the entrepreneur behind Australia’s IXL jam brand, who operated his famous preserving company on the site between 1895 and 1926 (Chapel St Precinct, n.pag.). Venue Jam Village Roadshow’s promotion of the Jam Factory venue over the actual films being screened is indicative of Australia’s primary shift towards retail entertainment based cinema complexes. Unlike the homogenous multiplex venues of the 1970s and 1980s, the Village Jam Factory Complex has been aggressively marketed as a Melbourne icon, capable of offering a unique entertainment experience. This agenda is clearly documented in the 1999 Village Roadshow annual report which, pointing towards a perceived threat of home theatre technologies, proclaimed: [In] broadening the cinema going experience … [Village] aims to create an environment of quality entertainment theming and ancillary lifestyle retailing, thus providing a consistently high level of incentive for people to leave their homes for cinema anchored destinations. (Village Roadshow 19) To this end, the Jam Factory became the physical embodiment of Village Cinemas’ corporate tagline “Where Movies Live” (Village Cinemas, n.pag.). Throughout the late 1990s, a number of similar sites proliferated across Europe, the United States and Canada. Two noteworthy examples of this trend are the Manchester Times building in the UK (initially managed by a short lived Village-Warner synergy) and the Sony Centre at Potsdamer Platz, Berlin; previous home to the Third Reich and later, the Berlin Wall. In both of these examples a similar venue-promotion agenda is clearly at work. In reflecting the cultural specificities of their host cities, each of these venues pays a semiotic homage to the previous occupants of their space. The Manchester Times building, for example, retains much of its former architecture and reflects the nocturnal vibrancy of 19th century printing plant. Similarly, the Sony Centre offers an architectural reflection on the complexities of Berlin history and German cinema. In Melbourne, the Jam Factory’s history of jam and jam making are equally preserved. Drawing heavily on postmodern architectural styles, the Jam Factory’s interior uses South Yarra’s local history as a backdrop for a schizophrenic collage of seemingly incommensurate time/place references. From the distinctive red-brick cooling tower (located in the centre of the building) one encounters a hybrid fusion of Mediterranean pasta courts, European coffee lounges, Romanesque artwork and columns (complete with weathered-look paint and ‘crumbling’ tops), statues of Hollywood stars, as well as a dazzling gaming alcove and a series of subdued ‘luxury’ (Gold Class) cinemas. Such eclectic displays of visual hyperbole have been prefigured by Umberto Eco, whose discussion on hyperreality addresses an imagination which “… demands the real thing, and in order to attain it, must fabricate the absolute fake” (Eco 8). As a relatively recent contributor to Australian cinema history, the Village Jam Factory has achieved little sustained academic attention, yet its significance must not be undervalued. As Australia’s first cinema-oriented retail entertainment destination, the Village Jam Factory has been crucial in placing Australia into the global film exhibition arena. While the pungent aromas of ripened fruit, vinegar and boiling sugar have long since been replaced by the scent of popcorn and recycled air, the legacy and architecture of jam-making has played a key role in propelling Australian film exhibition into the new millennium. References Acland, Charles. Screen Traffic: Movies, Multiplexes and Global Culture. Durham: Duke UP, 2003. Australian Film Commission. Get the Picture. Sydney: Australian Film Commission, 2001. Catalano, Anthony. “Village to Extend Jam Factory to 14 Cinemas.” The Age 5 Aug. 1998. Chapel St Precinct. General History of Chapel Street & Surrounds. 2006. 30 Dec. 2006 http://www.chapelstreet.com.au/default.asp?mode=history>. Downing, Leanne. “More than Meets the Eye: The Suburban Cinema Megaplex as Sensory Heterotopia.” Refractory: Journal of Media and Culture 8 (2005). http://www.refractory.unimelb.edu.au/journalissues/vol8/downing.html>. Eco, Umberto. Travels in Hyper Reality. Orlando Florida: Harcourt Brace Jovanovich, 1986. Village Cinemas. 2006. 30 Dec. 2006. http://www.villagecinemas.com.au/>. Village Roadshow. Annual Report. Melbourne: Village Roadshow, 1999. 
 
 
 
 Citation reference for this article
 
 MLA Style
 Downing, Leanne. "Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/05-downing.php>. APA Style
 Downing, L. (Dec. 2006) "Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/05-downing.php>. 

The world in one hand, now is no longer just an advertising tagline. It really has become a reality, when the gadget in our hands is able to present all the information needs of the entire world. Not just information, various entertainment can also be found in gadgets. From movies, music, drama series, talk shows, comedy, and various shows owned by influencers or YouTubers that are entertainment. And special, the audience in gadgets only watch the shows they like. There's no way they would waste their quota to watch a program they don't like. The question is, did television audiences still have an audience in such an era? As we all know, television viewers cannot just watch what they like, because in the program they are watching, it is likely that other programs that they dislike (such as advertisements) are tucked away. This paper tries to reveal, is it true that online media can replace conventional media? Or is it true that conventional media has been abandoned by the audience? The results of this study revealed that not all viewers left conventional media. Similarly, not all programs can be enjoyed online. Keywords: Conventional Media; Online Media; The audience.

Media studies has been a significant and trending field in today’s world. It is responsible for prevalent ideologies through different means like news, dramas, movies and advertisements. Advertisements occupy large spheres in any society and to understand them is not an easy task. Semiotics is an area of study of signs which provides ground for understanding the advertisements. In the world of advertisements, ideas are mostly represented through signs, signifiers, signified and their association to the cultural context. The study involves the practical implementation of Barthesian approach using qualitative paradigm and explores the two-fold interpretation of meanings laid in the Pakistani print advertisements. These advertisements are taken from Pakistani magazines and are deeply analyzed using semiotic analysis for obtaining the results. The results reveal that the advertisements hold denotative as well as connotative meanings which are opened to interpretation for a wide audience. It is also disclosed from the study that all the basic elements camouflaged in various layers of the advertisement such as colors, characters and taglines play noteworthy role in generating the meanings

Робота фокусується на дослідженні рекламного дискурсу та його складової – слоганів до англомовних фільмів. Вивчаються особливості кінослоганів з точки зору лінгвістики, перекладу та викладання. Було досліджено основні лінгвістичні особливості слоганів до англомовних фільмів, а саме лексичні, синтаксичні та стилістичні. Через призму перекладацьких трансформацій, а саме лексичних та граматичних, було досліджено особливості перекладу кінослоганів з англійської на українську мову. Розглянуто стратегії навчання слоганам на заняттях з практики перекладу. З’ясовано, що кінослогани – це помітне явище реклами, яке являє собою невичерпне джерело для дослідження з точки зору лінгвістики. Дослідження слоганів до фільмів з точки зору лінгвістики та перекладу дозволить виявити основні структурні елементи слоганів та засоби, за допомогою яких відбувається вплив на свідомість реципієнта. Теоретична значущість роботи полягає у тому, що матеріал може застосовуватися у дослідженні реклами та рекламних текстів, а також слоганів до англомовних фільмів.<br>The paper focuses on the study of advertising discourse and its component – taglines to English films. Taglines from the perspective of linguistics, translation and teaching is analyzed. The main linguistic features of movie taglines, namely lexical, syntactic and stylistic, were investigated. Through the prism of translation transformations, namely lexical and grammatical, translation of movie taglines from English to Ukrainian was distinguished. Teaching strategies involving movie taglines in higher education institutions were specified. It was found out that movie taglines are noticeable phenomenon of advertising which are an inexhaustible source for the study from the point of view of linguistics. Investigation of movie taglines from the point of view of linguistics and translation will allow to reveal the main structural elements of taglines and means by which an impact on the consciousness of the recipient is made. Theoretical foundations of the study of taglines to English films have been distinguished. Material can be used in the study of advertising and advertising texts, as well in the study of taglines.

Робота фокусується на дослідженні рекламного дискурсу та його складової – слоганів до англомовних фільмів. Вивчаються особливості кінослоганів з точки зору лінгвістики, перекладу та викладання. Було досліджено основні лінгвістичні особливості слоганів до англомовних фільмів, а саме лексичні, синтаксичні та стилістичні. Через призму перекладацьких трансформацій, а саме лексичних та граматичних, було досліджено особливості перекладу кінослоганів з англійської на українську мову. Розглянуто стратегії навчання слоганам на заняттях з практики перекладу. З’ясовано, що кінослогани – це помітне явище реклами, яке являє собою невичерпне джерело для дослідження з точки зору лінгвістики. Дослідження слоганів до фільмів з точки зору лінгвістики та перекладу дозволить виявити основні структурні елементи слоганів та засоби, за допомогою яких відбувається вплив на свідомість реципієнта. Теоретична значущість роботи полягає у тому, що матеріал може застосовуватися у дослідженні реклами та рекламних текстів, а також слоганів до англомовних фільмів.<br>The paper focuses on the study of advertising discourse and its component – taglines to English films. Taglines from the perspective of linguistics, translation and teaching is analyzed. The main linguistic features of movie taglines, namely lexical, syntactic and stylistic, were investigated. Through the prism of translation transformations, namely lexical and grammatical, translation of movie taglines from English to Ukrainian was distinguished. Teaching strategies involving movie taglines in higher education institutions were specified. It was found out that movie taglines are noticeable phenomenon of advertising which are an inexhaustible source for the study from the point of view of linguistics. Investigation of movie taglines from the point of view of linguistics and translation will allow to reveal the main structural elements of taglines and means by which an impact on the consciousness of the recipient is made. Theoretical foundations of the study of taglines to English films have been distinguished. Material can be used in the study of advertising and advertising texts, as well in the study of taglines.

This chapter discusses how the Thing in human form is ultimately the greatest instigator of fear. Simply not knowing who is who, but knowing what happens when a Thing is hidden inside a man contributes to the film's suspenseful, horrific effectiveness. The chapter gives a brief history of plant-based monsters on the big screen and how the The Thing might be part-plant. It discusses how the word 'man' on the tagline of The Thing may actually refer to 'mankind' which suggests a rapid and complete subsuming of all human life on Earth should the organism be allowed to reach civilization. The chapter relates the characters and how they are constructed to the political atmosphere at the time the movie was released citing the Cold War and the rising fear of Communism in the United States. It also discusses the gender politics that play out in the film.